This body of work was created during a short performance that  took place as a assessment for history and theory module in Year 1 Masters in Fine Art course. 

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The response was comprehended to:
Arnold Berleant's article - Transformations in Art and Aesthetics and book - Art and Engagement 1991, where I focused on the Chapter Two. 

In the article Arnold Berleant discuss the main characters of aesthetics in visual arts that had expanded to many visual forms of art. He wrote about the transformations that the aesthetics takes in a manner to still applied to the social relations and so reject traditional paradigms and incorporate the everyday world. The aesthetics consist from the pure pictorial approach and formal elements such as texture, tone and composition to become an original. 

He wrote that the visual arts began to reveal a fascinating process of experimentation and transfiguration. During this sequence of movements, we can see imaginative action of changes of the art object. The influence of this relates to subject manner of the light and ways of perception collaborating with emotion and dreams within the link of objects structure. 

Although in this article are more suggestions that are created from different views. This, considerations put the course of modern art as a narrative of transformation based on experience. The collaboration of our own experience and art creation indicate the sensibility of pictorial qualities that had made the objects less important. In this case arts have an influence on the spectator.
In the second chapter named The Unity of Aesthetic Experience he is wrote that the fine arts posses a celebratory character with the ritual and forms of social privilege. This encouraged the development of a sharp distinction between people’s practical activities, which demanded an unqualified commitment to utility, and the artistic activities of aesthetic enjoyment, which were cut off from practical affairs and regarded for their own intrinsic worth. Along with such regard went a sharply defined difference between the objects of beauty and those of utility.  

From this chapter I selected one key word Utility that means joy, happiness and usefulness to include it into the performance. By this performance I wanted to emphasize my appreciation towards aesthetics in the nature where aesthetics stands for ways of feeling. The appreciation that I feel towards landscape and nature that I tend to capture in my photographs is the way how I search for places that would suggest my previous home. This search and documentation of such places I do enjoy as its beauty creates an illusion of being present in the precious place. The suggestions that are appearing in Kiltonga Nature Reservation are pleasing, very similar to places that I supposed to visit as a child, but this can be also tiring and confusing that the act of crumpling and tiering represented. Then the act of re-sticking the photographs back together with a scotch tape represented the sense of appreciation that still persists although at the beginning it appeared as dispose of place and memories. 

The poem by Josef Hora that I interpreted indicates the poet appreciation of his loved place. He wrote this poem to draw attention on his own perception on natural features and his personal transformation. Thereby, his hopes and fears that he connected to the natural presence of mountains and night sky supported the structure of use of language. This poem can be also considered as poetic use of language that compliment but also juxtapose the performance. I suppose that the poet was aware of possibility of losing this place and this art creation in use of language was his own way how to immortalize the place and keep it in the memory.